By Festival photography didn’t emerge as a distinct genre until the countercultural movements of the 1960s transformed gatherings like Woodstock into visual phenomena that demanded documentation. Before this watershed moment, festivals were largely ephemeral experiences, captured sporadically by photojournalists with bulky equipment that limited their mobility and creative vision. The revolution came when photographers like Baron Wolman and Jim Marshall picked up lighter 35mm cameras and ventured into the crowds, creating intimate portraits that showed festivals weren’t just events but cultural earthquakes.
The technical …
